quinta-feira, 27 de março de 2008

John Mayall - The Turning Point (1969)

ESTE É O GRANDE MESTRE BRANCO DO BLUES/JAZZ. NÃO É UM DISCO TÃO RARO, MAS A SONORIDADE SURPREENDE. MUITA FLAUTA, SAX E HARMÔNICA NUMA MISTURA PERFEITA DE BLUES/JAZZ. BELÍSSIMO DISCO!


Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The all-original material is flowing and melodic, with long jazzy grooves that don't lose sight of their bluesy underpinnings. Lyrically, Mayall stretches out a bit into social comment on "The Laws Must Change" on this fine, meditative mood album.

http://w14.easy-share.com/6010371.html

terça-feira, 25 de março de 2008

The Seeds - A Web Of Sound (1966 Psych Garage)

Este disco da banda THE SEEDS não usa psicodelia pura como nos outros albuns, mas sim uma mistura disso com genero garage rock. É um clássico garagero por excelência com pitadas psicodélicas e que PITADAS!! Confira este disco e veja a diferença entre os outrso dois discos publicados aqui. Um blueseiro e outro totalmente psicodélico.

Link
http://link-protector.com/414329/

segunda-feira, 24 de março de 2008

Ant Trip Ceremony - 24 Hours (west-coast styled garage psych 1968)

VENENASSO DE FOLK, BLUES E PSICODELIA QUE TRABALHA COM FLAUTAS E OUTRSO INSTRUMENTOS DE FORMA PRIMOROSA!! CLÁSSICO DA PSICODELIA SESSENTISTA!!


A blend of folk, blues, jazz, and Eastern psychedelia, 24 Hours is at its best on the more Eastern and experimental influenced pieces like "Pale Shades of Gray" with its eerie melody, "What's the Matter Now," and "Elaborations" with its lengthy raga-ish instrumental with some very effective flute. The album also contains some covers like "Get Out of My Life" and Eric Andersen's "Violets of Dawn" which are just adequate, but their version of "Hey Joe" is exciting.
A Trippy psychedelic album with a unique sound, mixing dream improvisation with west-coast styled garage psych, it’s one of the rarest and best private pressings!

Download Link :


http://ant_trip_ceremony_-_1968_-_24_hours.rar/

ou este

http://rapidshare.com/files/27344195/ant_trip_ceremony_-_1968_-_24_hours.rar



It's a Beautiful Day - It's a Beutiful Day (Psych Prog 1968)

Banda psicodélica de São Francisco, liderada pelo violinista David LaFlamme. Ele começou sua educação musical aos cinco anos, foi solista de orquestra sinfônica e no começo dos anos 60 megulhou na cena underground de Frisco, fazendo jams com Jerry Garcia (Grateful Dead) e Janis Joplin. Em meados de 1967 ele fundou a It's a Beautiful Day, juntamente com a sua mulher Linda nos teclados, a vocalista Pattie Santos, o guitarrista Hal Wagenet, o baixista Mitchell Holman e o baterista Val Fuentes. Foi esse time que realizou este álbum de estréia, auto-intitulado, em 1968. As músicas etéras não deixam de ter um toque progressivo. Destaques para "White bird", "Bombay Calling" e "Time is".

ICECROSS - ICECROSS (ICELAND HARD PROG PSYCH 1973)

VENENO DO BOM VINDO DA ISLANDIA! RECOMENDADO!
Hard Progressive-Psychedelic Rock from Iceland.Full of Heavy & Doomy Elements.The album was recorded in Denmark but issued in Iceland only.Personnel include only 3 members:Axel Einarsson (guitar,vocals),Omar Oskarsson (bass,vocals) and Asgeir Oskarsson (drums,vocals). All tracks are self-composed and sung in English.

domingo, 23 de março de 2008

Sapphire Thinkers - From Within (US Psychedelic Rock 1968)

Excellent 1968 Californian band who with their mix of male and female vocalists and fuzz lead guitar bear comparisons with Yankee Dollar or Peanut Butter Conspiracy. If anything this band are better than those acts and their album features some excellent harmonies and nice trippy touches - in particular the Doors like keyboards and backward effects.
Other than Vernon Joynson's entry in Fuzz, Acid and Flowers and his very similar summary of the album in "Flashback", used in the sleeve notes for the CD re-issue, there is very little information on this excellent band and their work. Joynson's summary from the sleeve notes was as follows "...similar to Jefferson Airplane and Peanut Butter Conspiracy...based in LA, they were probably Californian. The album contains some pleasant vocal arrangements/harmonies and nice touches of acid and fuzz guitar and is recommended".
I couldn't agree more. If it's light and breezy West Coast psych inflected pop you're looking for, then this band make all the right moves. In addition to melodies and male/female vocal harmonies to rival The Mamas & The Papas, and a groovieness in the vein of Ultimate Spinach, there's a few more things that really stand out on the album for me. These are the technically brilliant snappy keyboard backing on most tracks, the stunning lead guitar breaks that really lift several of the tracks, and the sprinkling of flute over the album.
The standout tracks are the title track "From Within" and the amazing "I Got To You" which is contains the best harmony work on the album and some beautifully introspective guitar pieces. Yet another talented bunch of musicians that never received the attention they deserved.
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2. http://sharebee.com/b419d792

Hallucinations - Psychedelic Pop Nuggets From The Vault 1966-69

Producer Andrew Sandoval has pulled together twenty-four superb psych-pop tracks from the WEA vaults, including sides culled from master tapes of Warner, Reprise, Loma, Atco, Valiant, and Cotillion. The focus is on singles, with a few album tracks mixed in, and primarily from artists who were either unknown, or were stepping outside their regular domain for an experimental run down the psychedelic highway. Some of the best known names here are those of the session producers, including Lenny Waronker, Jerry Yester, Don & Phil Everly, Don Adrissi, Jimmy Bowen, Joey Levine, Curt Boettcher, and Richard Perry.
Better known artists, like The Tokens, are represented by sides that step away from their familiar hits, and the one-off singles and rare album tracks explore lesser known sides of the commercial psych boom. Though recorded in proper studios for major labels, these tracks still temper their hit-seeking with a healthy dollop of experimental. The key years of 1966 through 1968 yield an entire program of psych-tinged folk and sunshine rock, heavy on the harmonies and studio craft.
Highlights include the trippy vocals, space sounds and discothèque beat of Baker Knight's "Hallucinations," the raga jangle of Adrian Pride's "Her Name is Melody," the funky "Straight Aero" by Jeff Thomas, the jugband-styled harmonies of MC^2's "My Mind Goes High," the Sgt. Pepper-esque "Lucifer" from future Ohio Express mastermind Joey Levine, and the droning "Hell Will Take Care of Her" from Brass Buttons. Fans of the mid-80s paisley underground, particularly The Rain Parade, early Bangles and Three O'Clock, will find this volume familiar and compelling.
'60s folk fans will want to check out the Curt Boettcher-produced cover of Bob Gibson and Phil Ochs' "That's the Way It's Gonna Be," complete with a variable-speed guitar and backward koto instrumental break. Songwriter Paul Williams' debuts as a performer on The Holy Mackerel's "Wildflowers," complete with Leslie-fied lead vocals, and the original mono single mix of The Monkees' "Porpoise Song" makes it's CD debut. Producer Sandoval lovingly documents each side with details on the band and the circumstances of the track's creation. The insert booklet also includes many photos and label reproductions, and the purpose-built tri-fold digipack features a neat pop-art color wheel. Originally issued by Rhino Handmade as "Hallucinations: Psychedelic Pop Nuggets from the WEA Vaults," this has been reissued with a minor track change in the UK under the title, "My Mind Goes High." [Source Unknown]

quarta-feira, 19 de março de 2008

Under Milkwood - Selftitled (US Psychedelia 1970)

Reissue of a fantastic Californian psych-based only released in 1969 as test pressing (was planned to be released on A&M label but never came out); it had this real 'west coast' guitarsound like Jefferson Airplane, Moby Grape, some folkrock passages ala Fairport Convention but also some exotic hippie atmospheres ala Traffic Sound; great alternate male/female vocals not unlike Balin/Slick but also crystal vocal passages ala Sandy Denny. Underground masterpiece from this mystic folk band out of California.
Recorded in the early 70s, it's never been released & test pressings are collector's items. The singer Clara Miles had a voice similar to Grace Slick, especially on the acoustic tracks. Gatefold sleeve.


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2. http://sharebee.com/ccba2d30

Shotgun Ltd. - Shotgun Ltd. (1971 US Heavy Psych Rock)

This group of young Californian musicians were all aged between 17 and 21 at the time of their album. They were discovered by Delaney Bramlett (from Delaney and Bonnie) who arranged for a recording deal with Prophesy and for his DelBon company to produce the LP. With Jim Gordon (the keyboard/sax player, not the drummer of Derek and The Dominos) at the controls, the result was a powerful mix of heavy/prog rock with lots of guitar/organ interplay and good vocals. Jim Gordon, Ben Benay (ex-Goldenrod) and the sax-player Jerry Jumonville provided some support. All their material was penned by the group members, with the help of J. Loppnow on two tracks and R. Lawson on one. Three cuts (Number Two, Against The Wall and Feelin' Bad) are over five minutes long and, with the opening Bad Road, are among the better moments.

http://sharebee.com/67f86b6c

Borealis - Son of The Sea & Bonus Album (Rare Canadian Rock 1972)

A very obscure band, from somewhere in the Maritimes, with an album that became more accessible in 1992 because of a counterfeit reissue.Their album is in general amateurish and suffers in the composition level from lack of inspiration. Their nadir is the awful Old Age with an inconsistent melody line and out of tune vocals in parts, but fortunately the rest of the tracks are not that bad. In fact there are some good enough compositions like the mid-tempo, organ-dominated Business, the slow and melodic The End and the more hypnotic Tomorrow Morning which is reminiscent of It's A Beautiful Day. The heavier tracks like Song For The Sea, Broke and The Politician are not so distinctive, but Long Day, which sounds similar to Bent Wind, and the psychedelic (with a garage/basement feel) Higher featuring lots of fuzz guitar leads, are satisfying.
PROFESSOR FUDDLE'S FANTASTIC FAIRY TALE MACHINE (1974) - A short-lived seventies outfit from Toronto, Ontario. Paul Bradbury, who was also in Borealis, composed the entire music score and all the lyrics for this album, aside for segments of Witch's Chant, Philomel and The Sonnet Song, which were adapted from Shakespeare. The title cut is quite psychedelic with sound effects as is Indigo Evening. Dancing Master's Jig is precisely as the title suggests, but Counting Companion is a throwaway cut. A short but unusual album, with a total playing time of twenty four minutes!
Full title - Borealis & Professor Fuddle's Fantastic Fairy Tale Machine - 'Sons of The Sea' Two rare psych- prog vinyl on 1 CD ('72 & '73) High quality paper sleeve with booklet in PVC outbox, limited 1000 copies "Super rare Canadian 1972 psych album, which features excellent keyboard work and fuzz guitar. Also includes the full album of the post Borealis - Professor Fuddle's Fantastic Fairy Tale Machine formed by Borealis vocalist Paul Bradbury"
were a Canadian quartet (Paul Bradbury, Wayne Sturge, Mark Bradbury and David Hillier) who had the dubious honour of recording the first rock album in the Atlantic province of their home country. The year was 1972 and at that time the region was somewhat uninterested in anything other than the standard fair of country or folk music. Nevertheless, the group did score a hit of sorts, the single, and first cut on the album, In The End made it into the top ten in St Johns, Newfoundland for two months, possibly because, as the liner notes state "it was the least jarring to the region's many country fans". The song is fairly untypical of the rest of the ten-track album being a mid-tempo number with upfront vocals, gentle guitar and a wash of keyboards in the background. Rather lovely by all accounts.

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Part 2: http://sharebee.com/22ca26e4

July - July (Great & Rare UK Psychedelia 1968)

They started out as a skiffle act from Ealing, called The Playboys and then became a R&B combo The Tomcats. John (Speedy) Keen was in them for a while. In 1966, The Tomcats went to Spain with a new line-up (the future July one). As Los Tomcats, they got in the Charts with four EPs, one of which was all in Spanish! They returned to the UK in 1968, still basing themselves in Ealing.
July recorded what has become one of the most sought-after British psychedelic sixties albums. Twenty-five years on time has not been kind to all the tracks (e.g. Jolly Mary) but overall it's well worth purchasing for its eerie brand of psychedelia (on Dandelion Seeds and My Clown) and some fine psychedelic guitar work (Crying Is For Writers). More accessible are the Bam-Caruso reissue, which was put out in a different sleeve, and the Aftermath CD reissue. Both also include the second 45, which wasn't on the first album. Duhig and Field went on to be in Jade Warrior and Tom Newman later released solo albums on Virgin and Decca. He also set up Branson's Manor Studios and engineered Tubular Bells I and II. Duhig was also later in Assagai. Alan James went on to play for Cat Stevens, Duffy Power, Neil Innes and Kevin Coyne. They were managed by Spencer Davis.
July started out in the early '60s as an Ealing-based skiffle act working under the name of the Playboys, and then metamorphosed into an R&B outfit known as the Thoughts and then the Tomcats, through which John "Speedy" Keen passed as a drummer. The final Tomcats lineup, which evolved out of an unrecorded band known as the Second Thoughts, found some success in Spain when they went to play a series of gigs in Madrid in 1966. They returned to England in 1968, the group's lineup consisting of Tony Duhig on guitar, John Field on flute and keyboards, Tom Newman on vocals, Alan Jamesplaying bass, and Chris Jackson on drums, and changed they their name to July.
The band lasted barely a year, leaving behind one of the most sought-after LPs of the British psychedelic boom (on the Major Minor label in England, and Epic Records in the U.S. and Canada). Their sound was a mix of trippy, lugubrious psychedelic meanderings, eerie, trippy vignettes ("Dandelion Seeds," "My Clown"), and strange, bright electric-acoustic textured tracks ("Friendly Man"), with some dazzling guitar workouts (Crying Is for Writers") for good measure, all spiced with some elements of world music, courtesy of Tony Duhig (who has since come to regard July as an embarrassing element in his resume). Their first single, "My Clown" b/w "Dandelion Seeds," has come to be considered a classic piece of psychedelia while the album is just plain collectable, despite some shortcomings. The band separated in 1969, with Duhig moving on to Jade Warrior, Newman becoming a well-respected engineer, with Mike Oldfield's Tubular Bells to his credit, and bassist Alan James later working with Cat Stevens and Kevin Coyne, among others. Of the various reissues, Bam-Caruso's 1987 Dandelion Seeds is the most accessible, with Essex's The Second of July consisting of previously unissued recordings from 1967.

Killing Floor - Selftitled (1st Album Raw UK Bluesrock 1969)


The South London-based Killing Floor was originally a pop duo formed by lead guitarist Mick Clarke and vocalist/harmonica player Bill Thorndycraft. During the British blues boom of 1968-1969, they decided to form a "straight blues" group, recruiting prospective members from the classified pages of Melody Maker. Joining them were piano player Lou Martin, bassist Stuart MacDonald, and drummer Bazz Smith. Taking their name from Howlin' Wolf's "Killing Floor" (Wolf's cover was itself a version of Robert Johnson's "The Lemon Song"), the band played just one gig before ex-Radio Caroline DJ and ardent blues fanatic John Edward offered to manage them.
Edward's connection with the Southern Music publishing company led to them signing with Southern's Spark Records imprint. The band was booked into Pye Recording Studios and with Edward aboard as "producer," they recorded their self-titled debut in 12 days' time. Most of the material was re-configured Chicago blues classics, except for a cover of Willie Dixon's "You Need Love." Killing Floor was released in the U.S. on new London subsidary Sire.
Meanwhile, Edward booked the band gigs at Dunstable's California Ballroom, where they supported Ten Years After, Jethro Tull, Chicken Shack, and the Herd, to name a few. He also helped them get gigs at the Marquee, where they supported Yes and the Nice, and in 1969, they also toured with Texas bluesman Freddy King on two U.K. tours, which helped further their growing reputation. The band also appeared on all the contemporary British radio rock shows and toured solidly around the U.K. Lou Martin left after the release of Killing Floor and a handful of BBC Radio sessions and the group continued as a four-piece band. There were additional lineup changes in 1970-1971, at which point the group included ex-Juicy Lucy vocalist Ray Owen, drummer Rod D'Ath, and bassist Mick Hawksworth (ex-Fuzzy Duck/Andromeda/Ten Years Later).
A second Killing Floor album, Out of Uranus, was released in 1971 on Penny Farthing Records, this time with executive producer/label honcho and the Troggs' manager Larry Page overseeing the sessions. By mid-1972, Killing Floor had disbanded. The various members became Toe Fat and began backing Cliff Bennett. Thorndycraft retired from music and Bazz Smith continued to play in jazz trios. McDonald formed a band called Peace (with ex-Free vocalist Paul Rodgers) before returning to his native Wales and playing in local bands. Former piano player Martin joined Rory Gallagher's band, toured with Chuck Berry, and later played with Blues 'N' Trouble. In 1974, guitarist Mick Clarke formed legendary pub rockers S.A.L.T. with "Little" Stevie Smith. In 1983, he had his own group, the Mick Clarke Band, who have released numerous LPs.
The sheer toughness -- and overall derivative -- nature of Killing Floor's debut album, issued six months after Led Zeppelin's debut in 1969 on the Spark label, is a wondrous contrast to the overly slick treatment American blues were given by British artists. All of these tunes, with the exception of one, are revamped versions of songs from the blues canon with different words. The lone "cover" in the set was written by Willie Dixon titled "Woman You Need Love," the tune Zep ripped for "Whole Lotta Love." Despite the fact that this set was issued before by Repertoire, the Akarma version is definitive in that it features the original cover artwork in a heavy cardboard gatefold sleeve, and killer sound. This is a raw, immediate, overdriven, psychedelic blues record that offers an interesting historical counterpoint to the immediate impact of Page and Plant and Co., but it also offers a great contrast to the recent 1990s versions of American groups trying to rock up the blues in like style: Jon Spencer Blues Explosion immediately comes to mind. They also provide a heavier, less reverent, and altogether heavier update of the Yardbirds rave-up sound. [AMG]


http://massmirror.com/e2dd8e8346ffb6fde3d2e8ae696259da.html

The Dog That Bit People - Selftitled (UK Progressive Folkrock 1971)


Hincks and Lamb, left over from Locomotive after Norman Haines had left, formed this interesting outfit which is very much a progressive rock outfit playing short songs. The album opens mellowly with Goodbye Country, featuring a nice melody, but gets heavier on the somewhat prototypical The Monkey And The Sailor. This track has an unexpected middle 8, though.
Lovely Lady sounds like The Honeybus and Sound Of Thunder again lives from an odd juxtaposition between verse and chorus, a recipe which is some kind of trademark on this album. Someone Somewhere should have been sung by Ringo and boasts a horrible guitar solo which should have been played by George.
A Snapshop Of Rex sounds like Joe Cocker but suffers from the absence of Joe Cocker, while Mr. Sunshine clearly tries to be Traffic. Tin Soldier is not the Small Faces' song, but is an agreeable tune, albeit with embarrassing lyrics. The concluding Reptile Man has, predictably enough, doctored vocals above a repeated jungle riff and is the only truly black spot on the album, though hard progressive fans will argue otherwise. All in all a nice effort, very rare indeed, but not worth the pricetag of £190 and more. The 45 has an undistinguished non-album 'B' side.

terça-feira, 18 de março de 2008

Houston Fearless - Houston Fearless (1969 US Heavy Psychedelia)

Personnel:

HARLEY BAKER
ABILL COMBEST
AJOE KRASOMIL
ABOB WALL A


One and only album by this Houston, USA outfit. Some excellent hard rocking stuff here with some beautiful psychedelic touches. Originally released on Imperial records in 1969.Taken from Fuzz, Acid & Flowers by Vernon Joynson.Excellent US Heavy Psych! Thanks to Mellow. 

Full Artwork included.

JASPER - Liberation (Great UK Progressive Bluesrock 1969)

In the crowded underbrush of the late sixties British psych/blues scene Jasper was definitely at the head of its class. The quintet's personalized blues style, with Steve Radford's excellent lead-guitar lighting the way (punctuated also by their keen use of flute and harpsichord) is well expressed in the inspired version of 'Baby Please Don't Go' and 'Ain't no Peace'. Unfortunately soon after the release of their rare l969 debut album Liberation the group disbanded and disappeared from the scene. Miniature LP sleeve. Strings (courtesy of Henry Lowther and at times disturbingly out of key), dissonant flutes, half-competent guitars and a confusing array of mostly blues-based styles are the ingredients on this one-off album for Spark. Where the blues come out on top, there is nothing very special to attract the ear, apart from the fact that blues are often used not to express a blue state of mind, but rather to attempt to reflect some lost region of childlike innocence. Tribal rhythms are used throughout the album, to good effect especially on Confusion, the best cut. Otherwise the sound is often amateurish with many useless jams and repeats. Considering the low-key performances it is not easy to understand, why this has been so intensively sought-after, apart from its sheer rarity. To be filed under unnecessary purchases. It did come in a wonderfully psychedelic cover.

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